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Does the Eternal Fire, a symbol and monument of victory over fascism, burn only in Sarajevo? The answer is no, because also here, in front of the court, in the street of the victims of fascism, the flame of the Eternal Fire now stands and burns for all that have passed away and much more.

This simple but very beautiful monument was presented to the public on the occasion of the celebration of the first anniversary of the liberation of Sarajevo on 06th of April 1946. This date, April 06, has a fateful significance for the city of Sarajevo and was indelibly embedded in the chronology of its existence. On 6th of April, Sarajevo experienced two wars and one liberation. The first victims of the siege were killed by Serbian snipers on the eve of April 6th in 1992. Wherever a man turns in Sarajevo, he is bound by historical memories for 6th of April. I am sure you know who Valter was. Valter, who defends Sarjevo, was also killed on 06th of April.

A copper hearth in the shape of a laurel wreath, lit for the first time 75 years ago with an open and burning flame, the flagrant drawing of a multi-ethnic and free city, to the hotspot called Burning Hoop, becomes here the light of justice.

 

 

 

 


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The measurement of the world is a serious matter of complete arbitrariness. A line has been drawn here in front of you, from A to B, vertically, from pole to pole. The zero line. Because it was so decided, this zero is the zero where everything begins, where everything ends. Where they measured incorrectly back then, in Greenwich. By 102 metres. But it doesn't matter anyway. It is an assertion that only becomes true because we believe it. Like so many other things. Apart from that: the prime meridian of the WGS84 and ETRS89/GRS80 reference systems valid today is no longer fixed to the earth's surface at all, but is a modelled geodetic datum, since meridians in more precise calculation are not surface-locationally fixed due to tidal forces, polar motion and continental drift. Or in other words, zero is where you are. At least most of the time. 

 

 

 

 


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On the beautiful blue Danube, it has always been about the sausage! The gastro-cultural mashup of the former multi-ethnic monarchy was and is also found on the grills of Vienna's 250 sausage stands: Frankfurter, Krainer, Bosna, Buren and Debreziner lie and live side by side here. Together with BigMac and Kebap, the sausage forms the Holy Trinity of Viennese snack culture and towers above the others due to its sausageiness manifested in the flesh. As a symbol and relic, the sausage thus embodies in its entity the unique inertia so characteristic of Vienna, embedded in an egalitarian eating experience that simulates the social elasticity of classless access in a pink social democracy. Austrian wurschtigkeit is much more than mentality; it is a long-tested survival strategy. Those who are more wurscht are better able to relax. The sausage stand offers not only well-cooked corpse parts prevented from decomposing, but also the intellectual situational elasticity of an outdoor salon discourse. Here, everything carnal and spiritual is chewed through and digested. Everything is washed down with an Ottakringer. And another, and another, until finally everything turns around. Jo eh. It's all right. Fix! The world is a sausage stand and everything has one gender, only Conchita Wurst has two.

 

 

 

 


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Drage slušateljice i slušatelji ovog glasa, obraća vam se jedan odavno bivši intendant kazališta u čije pročelje,nadam se, upravo gledate. Napravit ćemo mali “povratak u bolju prošlost”. Datum je 8. listopada, u domicilnom kalendaru poznatiji kao Dan neovisnosti, a godina je 2014. Uz standardnu hrvatsku trobojnicu na pročelju riječke nacionalne kuće, odlučio sam se instalirati i zastavu duginih boja, koja će koloristički obogatiti skromni troboj hrvatske zastave. Uz sam barjak, koji je i brojem boja i dimenzijama nadmašio onaj hrvatski, odlučio sam se i preimenovati nacionalni frižeder kulture iz HNK Ivan pl. Zajc u Hrvatsko LGBTQ kazalište. Cilj ove akcije bio je, uz razbijanje nacionalnog kolorističkog troboja, i ukazivanje na problem sustavne diskriminacije osoba neheteroseksualne orijentacije u Hrvatskoj, što je 2013. i ozakonjeno famoznim Referendumom za brak u režiji Željke Markić i nečega što se odaziva na ime U ime obitelji.

Akciju smo najavili citatom iz filma “The Raspberry Reich” Bruce LeBrucea “Heteroseksualnost je opijum za narod.” I uskoro se oštrom reakcijom javio istinski marksistički opijum za narod - Katolička crkva. Nije trebalo dugo da im se pridruže raznorazne braniteljske udruge, hasanbegovići i sve ostalo što promptno skače na stražnje noge kad se iole kritički takne u državu ili bilo kakvu joj emanaciju. Bio je to mali korak za Hrvatsku, ali veliki za one kojima je Hrvatska bila i ostala vječni izgovor za maltretiranje različitih manjina i, naravno, da su nam u tom smislu pokušali polomiti noge.

LGBTQ zastave odavno više nema na riječkom HNK. Očigledno su počeli puhati neki novi vjetrovi. Jer i nacionalnu kulturu često muče vjetrovi. Međutim da ova priča ne završi osobnim porazom ili društvenim smijehom, za uzvrat dobila je Rijeka novi trg, (Trg duginih boja). Kao što više nije Teatro Comunale već HNK Ivan pl. Zajc, tako i ovo mjesto ispred njega nije više "Kazališni park" već "Trg duginih boja".

 

 

 

 


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“The lie made into the rule of the world”" - doesn't Kafka's sentence from the trial novel sound depressingly topical? Here he stands, created by the Czech sculptor Jaroslav Róna, striding headlong forward, 3.75 m high, weighing 800 kg, a split personality turned to stone and torn apart inside. Kafka, the split man. He wrote German and spoke Czech. Part of the Jewish minority. His homosexual tendencies, which he did not act out, were revealed in his texts. Kafka writes differently than he talks, he talks differently than he thinks and thinks differently than he should think and so it goes on, into the deepest darkness. Torn between earning a living and literary obsession, he wrote instruction manuals and technical documentaries during the day and at night he designed the fantastic stagings of a spiritual duel, the conditions of which he sought to understand and yet was unable to resolve. It is the fate and perhaps the greatness of this person and his work that it presents all possibilities and confirms none. A transformation that was always announced and yet never took place, a process that was never completed. And could never be completed. There it sits, the figure, on its own shoulders that could carry it forward, and yet do not. What remains is a final finger pointing, directionally pointing to a school, floor piled on floor, high above heads, seemingly frozen in free fall. A labyrinth for administration and imagination, in which the incompatible becomes compatible, the impossible becomes possible.

 

 

 

 


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Maybe there is something to it when poets say that art is made from what could have happened. One look into the future and it has already happened. One shot and it's already World War I. Or is it perhaps a butterfly effect? The spot where it all began and where Gavrilo Princip stood and shot that day was immortalised by an artist half a century later. A little-known sculptor named Vojo took Princip's shoe prints as the occasion for his later artwork and cast them on this house corner in Sarajevo. But what is so special about this? If, for example, the person who tore out these concreted marks 43 years later, in 1992, had not known who the author of this work was, perhaps these shoe prints would not have gained in significance and they would have made people think further when they themselves tried to fit in with their own shoes, adopted his posture and shot into the void. If they didn't shoot, they then compared their own with his shoe size and measured themselves instead of a murderer or hero. Or thought about who this split person was for whom this monument was erected? 

Today these shoe prints are here in Rijeka and tomorrow they are somewhere else. Like a zeitgeist that constantly changes its place. Once here and once there, always on a different house corner. Danger lurks and the next butterfly effect is only a flap of the wings away.

 

 

 

 


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Balconies are known in our pandemic present mainly as places from which people applaud those who are on their way to their system-relevant jobs at their feet. To the hospitals, supermarkets, old people's homes, power stations or garbage collection. Who do not shuttle back and forth between laptop and yoga mat in their home offices, but hurry through the empty streets of their city centres, which are otherwise populated by tourists from all over the world.

Here you can see one of the most famous balconies in the world: the balcony of the "Casa di Giulietta". The house, which today is mentioned in every travel guide as the house of Juliet, was still a stable a hundred years ago. Without a balcony. In the middle of the last century, the inhabitants of Verona had enough of explaining to people from all over the world that the famous balcony did not exist. They thought it would be easier to build one in a backyard. Without further ado, an old sarcophagus was carpentered onto the façade, to which millions of enthusiastic visitors now make a pilgrimage every year as if to see a relic. "Fake it, till you make it." That may also be from Shakespeare, but more likely from Simon & Garfunkel.

Already the conspiracy theorists are screaming and blogging: Fraud! Fake news! Romeo and Juliet never really existed! Shakespeare was never in Verona and certainly not in Rijeka! There is not even proof whether Shakespeare existed at all! But what does that matter? "All the world's a stage, and all the women and men mere players; they appear and depart." Little counter from Shakespeare. And isn't it the power of love that can move mountains, open borders, move balconies and shift perceptions? "Doubt the sun's clarity, doubt the stars' light, doubt whether truth can lie, only doubt not my love." Romeo & Juliet? No, but Hamlet, second act, second scene. "No underbelly, no trouble." Not Shakespeare either, but SpongeBob SquarePants. 

And now imagine: Act 2, Scene 2: a balmy summer night, Romeo has crept into the Capulets' garden, hoping to see Juliet again. Juliet enters the balcony, her eyes fixed on the distance, full of love and with a gloomy premonition that this will not end well. A sigh, a longing, "O Romeo, Romeo, why art thou Romeo?" In a moment Romeo will emerge, they will swear eternal love for each other. They will become Romeo & Juliet. Did you see it? Thank you. Please clap.

 

 

 

 


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Christo and Jeanne-Claude's works of art possess tremendous freedom because they are useless, irrational and unnecessary. They only exist because Christo & Jeanne-Claude want them. Whether they cover bridges or buildings, frame islands in Miami or put up thousands of parasols around Los Angeles and Tokyo: no message, no morals, just art. The provisional character of their artworks is essential: they are not for sale, no one can sell tickets, no one can own them. They are as gigantic as they are ephemeral. While the works are usually only on view for a period of a few weeks, the preparations and the necessary permits often take decades. It took 26 years for the City of New York to obtain the permit for The Gates. Art here becomes not least a social process that keeps lawyers, experts, officials and politicians busy for decades and thus becomes a long-term process for overcoming resistance. Or as Christo & Jeanne-Claude put it: Never underestimate the poetic dimension of bureaucracy!

 

 

 

 


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EUROPA TO GO

EUROPA TO GO ist ein interdisziplinäres Kunstprojekt im öffentlichen Raum, dessen konkrete Ausführung stets stark in Auseinandersetzung mit den spezifischen örtlichen Gegebenheiten entwickelt wird. Das betrifft sowohl die Reiseroute, die Auswahl der gezeigten Sehenswürdigkeiten wie auch das Team: für das personenintensive Projekt wird gezielt auch mit lokalen Personen und Initiativen zusammen gearbeitet. Der Transfer der Sehenswürdigkeiten, sowie ihre Re-Kontextualisierung ermöglichen eine zeitgemäße Wahrnehmung der Kunstwerke oder ihre erweiterte Interpretation. Dabei wird auch die reale Umgebung mit dem eigentlichen Herkunftsort einer Sehenswürdigkeit in ein Verhältnis gesetzt und assoziativ verbunden. Darüber hinaus versuchen God’s Entertainment innerhalb der performativen Tour einen Diskurs über kulturellen Austausch und dem Verständnis von Wirklichkeit und Performativität zu initiieren und zu führen.